The visionary paintings of Martin Wong, one of the unsung geniuses of New York’s East Village art scene of the 1980s, are collected here and examined in depth for the first time. Entirely self-taught, Wong created intricate compositions that combine gritty social documents, cosmic witticisms, and highly charged symbolic languages-customised manual alphabets for the deaf, street graffiti, Nuyorican poetry, hand-lettered signs, meticulously rendered brick facades, rearrangements of Zodiac signs-sometimes within a single painting.

The urban landscape of Loisaida, the Hispanic section of the Lower East Side where Wong lived, is the source of his imagery. Whatever the theme-the survival of a neighbourhood besieged by drugs and crime, homoerotic fantasies of men in uniform, the multiplicity of meaning in language, the kitsch and ornamentation of Chinatown USA-Wong’s work is visually startling and movingly autobiographical.

More information on Martin Wong can be found here.

Produced on the occasion of the exhibition Martin Kippenberger, The Last Stop West at the MAK Center for Arts and Architecture, Schindler House, L.A. which focused on Kippenberger’s METRO-Net series, which included six conceptual sculptures that, as a group, establish a far-flung metaphorical subway system from the Greek island of Syros, to several sites in Germany; Dawson City, Yukon Territory, Canada; and West Hollywood, at the Schindler House. With texts from Norman M. Klein, Peter Noever, Roberto Ohrt.

Produced on the occasion of the exhibition Isa Genzken: Caroline Van Damme at the Museum Dhondt-Dhaenens in Deurle, 17 May–5 July, 1998. Curated by Luk Lambrecht. Designed by Studio Luc Derycke.

The first publication published by Roma Publications, this coverless book shows collected text fragments hand written by Marc Nagtzaam – to be seen as sources of his work—followed by a series of abstracted drawings of passed exhibitions. Produced in an edition 200.

Kempens Informatieblad, was a newspaper published by Belgian artist Jef Geys between 1971 and 2018.

Since the early 1960s, in addition to his interlocking artistic and pedagogical work, Geys was also involved in the production and distribution of a local newspaper, the Kempisch Reklaamblad, on whose pages he began to publish various textual and pictorial material among the advertisements placed therein. After it was discontinued, Geys took over the paper and continued it under his own direction as Kempens Informatieblad.

Functioning as an alternative to the conventional artist catalog, the issues, over 50 in total, were mostly published in connection with his exhibitions. As an information system directed by the artist, it successively developed into a kind of meta-medium within his practice, through which he himself organized his representation and mediation—beyond the exhibition context.

An Account of an Ongoing Personal Discourse and Its Manifestations in Dance.

Tracing a period in her life from the 1969 Woodstock Festival through the following years living on the land, this singular dance artist’s direct and poetic writings bring a turbulent transitional era to life. Arriving in New York in the early 60’s from California, she brought with her a series of pieces that proved to be a serious influence on the development of “post modern” dance in years to come. Her “dance-constructions” were based on a concern with bodies in action, the movement not being stylized or presented for its visual line but rather as a physical fact. Combining drawings, “dance reports” (short descriptions of events whose movement made a deep impression on the author’s memory), and documentary materials such as scores, descriptions, letters to colleagues, and photographic records of performances, Forti’s eye toward creating idioms for exploring natural forms and behaviors is evident throughout.

*This is the reprint by Contact Editions and not the original 1st edition by Novia Scotia College of Art and Design from 1974.